The lovely Devi Meenakshi is captured in the sumptuous Tanjore medium. For the devotees of Madurai’s guardian deity, such a painting would be a valuable addition to the home or office space. It depicts the Parvati-Roopa Devi standing with a soft-bellied lotus beneath Her feet. Garlands of fresh flowers of varied colors are around Her neck and Her shoulders, and over the archway of Her temple ent

Upon a throne of bejeweled gold, upholstered in blue and purple velvet, sits the gorgeous Devi Lakshmi Watercolor Painting. Her legs are in lalitasana, the signature stance in Indian iconography; and lotuses in Her posterior hands, symbols of wealth and plenty in Her anterior ones. The richly colored silks and ample jewels that clothe Her convey the divine glamour of the wife of Lord Vishnu. The p

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An image of tender devotion. Lord Hanuman kneels on one knee upon the earth and gathers His hands in the supplicatory namaskaaram. His tail flourishes behind Him as He raises His head towards His beloved Lord Rama, His eyes brimming with the bhakti in His heart. Bhakti, or unconditional love, is the yogamaarga (‘maarga’ is Sanskrit for path) of Hanuman, an accomplished yogi of the finest order

A glowing Ramadurbar Tanjore painting for your home or office walls. The haloed Lord Rama is at the very centre of the canvas. His smooth dusky skin sets off the glittering silken amber of His dhoti. To His left is the beauteous Devi Seeta, the brave daughter of King Janaka who never of Her own will left Her husband’s side, even during vanavasa. On the right side of the Lord is Lakshmana, br

Buddhism was first very important solely among the people of Tibet, but it gradually increased in popularity all over the world. Gautama Buddha, the first Buddha to achieve enlightenment, founded it. Tibet worships Buddha as a supernatural being rather than a deity and his teachings are a significant source of positivity and harmony among his followers. Buddha mudras and postures are examples of s

Lord Gautama Buddha is believed to be the sole founder of Buddhism and his teachings are entirely concerned towards defining a path free of worldly pleasures and liberating sentient beings from suffering. The bliss that you perceive as you look at the face of this Buddha sculpture makes you feel in heaven; the superfine carvings of his sharp nose, the satisfactory smiling curve of the lips

Lord Buddha is the embodiment of peace, compassion, and happiness. The variation in the iconography of Buddha statues reflects through various hand gestures and sitting postures. In this idol, Buddha’s right hand is in Vitarka Mudra representing him in the state when he is transmitting teachings to the disciples while his left hand holds a begging bowl for alms. Exotic India presents a brass sta

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In Tibetan Buddhism, Chemchok Heruka is most notably known to be the focal divinity in the Fifty-eight Wrathful Deities mandala where he is the furious aspect of Samantabhadra. These 58 deities are said to be wrathful deities one can meet in death and rebirth. He is also known as the Mahottara Heruka. Meanwhile, in the Guhyagarbha Tantra, he is the main deity among the herukas of the Eight Command

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This ovally framed portrait is of the Mughal emperor Shahjahan, the builder of the Tajmahal. He is the only one of the Great Mughals to have lived to the greatest of grandeur and the worst of grief and achieved the highest of glory and the lowest of gloom. This depiction closely represents his likeness, as has been recorded in his contemporary portraits. The National Museum, New Delhi, has in its

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In the pages of the pious Hindu text- Bhagavata Purana, we find the episode of Kartavirya’s battle with Parashurama, how the sixth avatar of Vishnu slew the king, and how this led to the murder of his father, sage Jamadagni at the hands of the sons of Kartavirya. As vengeance on the death of his father, in whose lamentation his mother Renuka beat her chest twenty-one times, Parashurama (literall

Rendered in Marwar idiom of Rajasthani art style, pursuing the theme, style and everything of an early nineteenth century miniature from Jodhpur, in its exactness except the painting’s size and the background colour of the circle in the centre containing the figures of Radha and Krishna, the painting portrays a grieving Radha for Krishna’s failure to reach there despite the promise he had made

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Adorned with a blood-red Rajhistani pheta turban, the swarthy, chisel-faced man smokes a cigarette with a cruel, curved mustache that compliments his grim expressions and bushy eyebrows outlining his brown complexion in this painting. His mustard yellow choga is festooned with bijou red and green Mala contrasting the background. His collar is displayed as if strangling his neck. His wrists are gra

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The image of the seated Lord Ganesha in the Tanjore idiom. The son of Shiva and Parvati, a widely adored baala-deva (boy-deity), is seated on a studded throne of solid gold. Behind the chaturbhujadhari deity rises the velvet-upholstered backrest hemmed in with gold. The same is studded with concentric rows of red and green stones which resemble rubies and emeralds, respectively. Ganesha is dressed